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Chers legendäres Live-Album "The Farewell Tour" feiert 22 Jahre nach seiner ursprünglichen Veröffentlichung ein spektakuläres Comeback und erscheint erstmals auf Vinyl und digitalen Streaming-Plattformen.Die Doppel-LP wird auf hot-pinkfarbenem und lilafarbenem Vinyl erhältlich sein und enthält eine remasterte Version des Originalkonzerts. Zusätzlich zu den ursprünglichen 18 Songs der CD-Veröffentlichung beinhaltet die Kollektion drei bisher nur auf dem Konzertfilm enthaltene Bonus-Tracks: „Save Up All Your Tears“, „We All Sleep Alone“ und „Different Kind of Love Song“.Das Album nimmt die Hörer mit auf eine faszinierende musikalische Reise durch Chers einflussreiches und einzigartiges Werk. Es präsentiert kraftvolle Live-Performances von Hits wie „Believe“, „If I Could Turn Back Time“, „Just Like Jesse James“ und „All Or Nothing“ und repräsentiert jede Facette ihrer kreativen Karriere – von ihren klassischen Alben bis hin zu ihrer Arbeit für Film, Fernsehen und Theater. Diese Neuauflage ist nicht nur für Sammler ein Muss, sondern auch eine Würdigung von Chers phänomenaler Karriere und ihrem unvergleichlichen Einfluss auf die Popkultur.

Honour's debut album is a ligament stretching from Lagos to London and to New York, curling across the diaspora and brushing the darker hues of blues, hip-hop, free jazz, ambient, gospel with Christian mythology and Yoruba folklore. As cinematic as it is painterly, Alàáfíà is a meditation on themes of life, death and love that pulls inspiration from the unexpected poetic profundity of casual conversations, field recordings, literature, ephemera, or personal archives. The result is an impressionistic vision in Black and Blur that both exhausts and implicates language_substantiating a mythos proposed by Fred Moten that sublimates boundaries between everywhere and nowhere; history and the present; the individual and the universal. Alàáfíà delineates a gothic landscape cut by overdriven beats, swooping orchestral blasts, choral bursts and ear- splitting fuzz, where the fleshly and spiritual realms commune. Dedicated to Honour's late grandmother, the title track began to take form after their last embrace and remains steeped in her influence and spirit_a tape-saturated composition that starts in Lagos and ends in London's smoke-stained cityscape, the song's dream-like quality developed out of the artist's grief and PTSD coping with this loss. Beneath the stretched guitar drones and stuttering loops, their grandmother's shared faith bubbles to the surface. "When Angels Speak of Love," borrows its title from two works by Sun Ra and bell hooks, respectively. Sculpting echoes of praise music into disorienting spirals perforated with syrupy DJ Screw-inspired breaks and sharp splinters of melancholic guitar, "When Angels Speak of Love" engages a conceptual dialogue with the spirits of both late thinkers, folding them into Honour's pantheon of ancestral guides. The album's ninth track, "Giz Aard ($uckets)," is a dirge of regimented drums which anchor this somber melody as it whirls into a blizzard of heartache, uncertain if its consequence will be death or eternal joy. The album's sole lyrical offering, "Pistol Poem (Lead Belly)," begins with a darkly humorous bar, "He went thru hell and back/ came back/ 2 get the strap," that swells into a haunting allegory based on the life of Philip "Hot Sauce" Champion. A modern take on the Blues, Honour's lyrics reify the artist's status as a student of both literature and popular culture, crossbreeding the artist's clever wordplay with additional references to Richard Pryor, Robert Johnson, Kelly Rowland & Bryon Gysin. Setting core principles of hip-hop, R&B, jazz and gospel music to atemporal soundscapes and compositions, Honour crafts a record that marinates in its own knotty contradictions. The ghosts that sit on the artist's shoulders have never been more tangible than with this emotive debut.

Wenn sie nicht gerade aus dem Fenster auf die stürmische Skyline von Manhattan blickte, verbrachte Margo Guryan ihre dreißiger Jahre damit, Ohrwürmer für Leute wie Bobbie Gentry, Jackie DeShannon, Claudine Longet, Carmen McCrae und Julie London bei CBS's April Blackwood Music zu schreiben. Guryans zeitlose Gedanken über Liebe, Sonntage, Erdbeben, Weinen und Jungs namens Timothy haben unzählige Filme und virale Videos unterlegt. Meisterwerke aus früheren Zeiten. 28 ihrer Songwriting-Demos aus den 60er und 70er Jahren sind auf dieser 25-jährigen Jubiläums-Doppelalbum-Edition.

It’s time. Miami’s son, Nick León, is set to release his highly anticipated album “A Tropical Entropy” en su casa, TraTraTrax. After two #1 tracks of the year, “Xtasis” and “Bikini,” Nick expands his "Arquitectronica" sonic universe to an exploration of decay, disillusionment, and psychedelia.
Inspired by Joan Didion’s novel ‘Miami’ and his unique energy, as well as altered states of consciousness—both chemically induced and sleep-deprived—the album reflects León’s personal experience of witnessing life and love fall apart against the backdrop of a crumbling society. The album is a manifesto from start to finish featuring stellar collaborations with Ela Minus, Casey MQ, Erika de Casier, Xander Amahd, Jonny from Space, Esty & Mediopicky, and Lavurn.

You'll find hazy tracks for the body and the mind; tracks to dedicate and feel deeply; tracks for heartbreak and tracks with the promise of future love. You will find themes of memory, sleep deprivation, decaying wildlife, and the suburban still life of Florida. “A Tropical Entropy” captures the haunting feeling of watching life unfold like a broken video recording—frozen in the orange hue of a never-ending sunset, signalling the final days of an apocalypse. In the meantime, León and TraTra will continue to establish their influence on the global circuit and their mission to keep releasing edgy music that connects la mente con el qlo.

It Takes Two is at it again. The 45 duo, founded in 2020 is here with a repress of there fifth release.

Supported by DJ Koco aka Shimokita, DJ Robert Smith and Marc Hype of Dusty Donuts many more. Edits by DJ's for DJ's filled with scratch samples and perfect intros/outros. After 001, 002 and 003 sold out, they're back with 005!

Previously released as ITT003 (SOLD OUT) white label Dilla Tribute. Now available as ITT005.

The A side is a remake of Dilla's 'You Know How I Feel' beat, that got lost.
The B side is an edit of 'Fall In Love' and a cover of Fall In Love.

Limited to just 200 copies.

A genre-defying Afrofuturist manifesto from Uganda. Producer,
dancer and choreographer Faizal Mostrixx"s singular vision of
East African electronic music is a lush sonic tapestry of
polyrhythms, modern dancefloor styles, amapiano, Nile basin
ceremonial chants and Pan-African field recordings. A stalwart
of the explosive Kampala electronic music scene Mostrixx has
collaborated with the Nyege Nyege collective appearing at both
the African and European editions of their festival. Mutations is
Faizal"s second full length album, following close on the heels of
his acclaimed digital EP Transitions (May 2022 / Glitterbeat). In
their review of Transitions, The WIRE noted: "If today"s currents
in East African electronic music have a more mainstream
destiny, this might be how it starts."

This is Music: The Singles, ist ein Kompilationsalbum der englischen Alternative-Rock-Band The Verve:
Richard Ashcroft (Gesang), Pete Salisbury (Schlagzeug), Simon Jones (Bass) und Nick McCabe (Gitarre).
Ursprünglich wurde das Album im November 2004 veröffentlicht und enthielt zwei Nicht-Singles, die aus
den Aufnahmen zu ihrem dritten Album Urban Hymns stammten: „This Could Be My Moment“ und
„Monte Carlo“.
2024 markiert den 20. Jahrestag der Veröffentlichung eines Albums, das nie auf Vinyl gepresst wurde,
und unter der Leitung der Gruppe ersetzt diese längst überfällige Neuauflage die Bonustracks durch die
kraftvollen Singles aus dem 2008er Reunion-Album Forth - ’Love is Noise’ und ’Rather Be’ - und enthält
auch die zweite Single ’She’s A Superstar’ (1992) in ihrer ursprünglichen, achteinhalbminütigen Form (statt
der fünfminütigen Bearbeitung). Somit repräsentiert das Album nun die komplette Geschichte der Singles
von The Verve.
Benannt nach der sechsten Single der Band, der ersten aus ihrem zweiten Album A Northern Soul, dokumentiert es auf brillante Weise die Kraft der relativ kurzen, aber epochemachenden Reise von The Verve
durch den musikalischen Kosmos.

POiSON GiRL FRiEND’s first full album produced by British artist Momus. Simon Turner and Louis Philippe also participate.



releases, August 8

Nippon Columbia/J-Digs / Ambient, Synth Pop, Bossa Nova, Downtempo, Japanese

Annahstasia kündigt ihr Debütalbum „Tether“ an, das am 13. Juni über drink sum wtr erscheint. Gleichzeitig mit der Ankündigung veröffentlicht sie die neue Single „Villain“.

Annahstasia sagt über die neue Single: „Wir alle bestehen sowohl aus Schatten als auch aus Licht. Aus irgendeinem Blickwinkel sind wir alle der Bösewicht der Geschichte gewesen, wir versuchen alle unser Bestes und verhandeln ums Überleben.“ Die Single wird von einem atemberaubenden Musikvideo begleitet, bei dem Adam Davis Regie führte und in dem die schwarze Rodeo-Community in Tulsa, Oklahoma zu sehen ist.

„Meine Karriere war eine Lektion in Geduld“, sagt Annahstasia, die ihre musikalische Sprache zwischen den Flammen der Intimität und Unabhängigkeit über verschiedene Leben, Orte und Wiederholungen hinweg kultiviert hat, verlorene und gewonnene Lieben, Erwartungen, die sich entzogen und neu geschaffen wurden. Die Nähe der aufstrebenden Troubadourin zur Liebe für und von anderen, in der Gesellschaft im Allgemeinen und tief in sich selbst, leitet den Geist ihrer gefühlvollen, poetischen Folk-Songkunst. Die Liebe ist die elementare Konstante neben ihrer unverwechselbaren Stimme, die die Musik der Singer-Songwriterin seit ihren ersten autodidaktischen Aufnahmen prägt, als die damals 17-jährige Annahstasia Enuke entdeckt und in die Zwänge einer Industrie gedrängt wurde, die ihre größten Stärken beinahe erstickt hätte. Künstlerische Widerstandsfähigkeit, Dankbarkeit und Hingabe haben „Tether“ hervorgebracht, Annahstasias Debütalbum, das auf dem kunstorientierten Indie-Label drink sum wtr erscheint. „Tether“ ist eine Sammlung von strahlenden Torch Songs, orchestralen und astralen Hymnen, die sich wie gelebt anfühlen und aus der menschlichen Erfahrung und dem Spektrum der Liebe stammen. Annahstasia hat die Stücke von „Tether“ langsam und mit tiefer Absicht zusammengesetzt; sie hat diese Lieder mit auf Reisen genommen, sie für Freunde und Fremde gesungen und sie im Laufe der Zeit zusammen mit ihren persönlichen Offenbarungen weiterentwickelt. „Der Song ist geschrieben, und dann muss ich mit ihm leben und sehen, ob ich wirklich glaube, was ich sage“, erklärt sie. Sie brachte ihr Material zu den Sessions in den berühmten Valentine Studios in Los Angeles mit und wurde dabei von den Produzenten Jason Lader (ANOHNI and the Johnsons, Frank Ocean, Lana Del Rey), Andrew Lappin (Cassandra Jenkins, L'Rain, Luna Li), Aaron Liao (Liv.e, Moses Sumney, Raveena) und einer Reihe versierter Musiker unterstützt, darunter die Gäste Aja Monet und Obongjayar. Die Aufnahmen erfolgten instinktiv, nur in Live-Takes, um das Gefühl des Raums und die Gemeinschaft der Musik einzufangen. Das Sequencing war ebenso essenziell; sie kam zu einem Fluss mit wechselnden Energien und ergreifenden Bögen. Die Instrumentierung schwillt an, mal zurückhaltend, mal üppig, und durch jedes Arrangement klingt Annahstasias Stimme wahrhaftig, offenherzig und frei. Lyrisch umarmt Annahstasia die Nuancen der Poesie und lädt die Zuhörer ein, sich auf die bedeutungsvollen Worte einzulassen, ob sie nun über Romantik oder soziale Konstrukte sinnieren.



“A once-in-a-generation vocalist writing haunting love songs” – NME



“Annahstasia’s grace and wisdom promises to leave a lasting impression this year and beyond.” – Clash



“Her flawless voice draws you into a world of feeling, whilst her beautiful, naturalistic songwriting spellbinds you into staying.” – Wonderland

Exit were a five-piece ensemble of journeymen musicians from the lone star state of Texas who came together in the early 1980’s to record a handful of popular local 45’s including two Football-mania songs. The groups line-up consisted of lead guitarist and vocalist Clennis High, rhythm guitarist Lonnie Jones, his brother Johnny K. Jones the groups keyboardist, bassist Frank Houston Jr and George Oliver on Drums.

Clennis High, a promising Football player with a flair for playing the guitar began his early musical career while attending Wheatley High school. Aged 17, Clennis played on several Crazy Cajun, Huey P Meaux’s recording sessions for Eugene Gamble and Barbara Lynn. Further recording sessions on Roy Head followed before he accepted an invitation by his neighborhood friend Willie Parnell to play alongside a group of fellow students in a band called ‘The Drells’. ‘The Drells’ had been founded by Archie Bell in 1966 pulling together neighborhood friends James Wise, base singer Cornelius Fuller, Billy Butler, Willie Parnell joined later by Archie’s brother Lee Bell. Clennis would play with ‘Archie & The Drells’ through their time on Skipper Lee Frazier’s Ovide label often accompanied by the ‘Texas Southern University Toronadoes’ where they scored a hit with the dance instruction song “Tighten Up” which on the strength of Atlantic Records picked the group up. Clennis played on all 3 of the Drells studio albums “Tighten Up”, “I Can’t Stop Dancing” and There’s Gonna Be A Showdown” under Gamble and Huff’s tutelage before quitting to return home to complete his degree. He continued to play with several local Houston bands including the Cold Four who recorded the sort after “Love And Care/Low Riden” (Drells).

Clennis later formed ‘The Reality Band’ with his friend Jerald Grey which introduced him to George Oliver and Frank Houston Jr. Occasionally ‘The Reality Band’ played with other groups, one group in particular (which Jerald previously knew) being an outfit from Conroe, Texas called the ’58 Engineers.

‘The 58 Engineers’ were founded by Johnny and Lonnie Jones, taking their name from the Army unit Johnny served with during his time in the service. By 1973 having grown to 8 members the group entered the studio to record the highly collectable and popular funk outing “The Funky Fly (Part1 & 2)” on their own Bryant Records label (Bryant being the Jones brother’s mother’s maiden name).

As members of the ‘58 Engineers’ moved on, the Jones brothers found themselves working more and more with the ‘Reality Band’ so when Jerald Grey too later moved on the remaining ‘Reality Band’ members Clennis, George and Frank having grown fond of the two “Country Brothers from Conroe” as they affectionally called the Jones’s made the decision to continue working with them, which led to the foundation of the group, Exit.

During 1980 the recently formed Exit recorded the first of their two Football -mania songs but it is from the groups 1981 release “Success/One More Hour” (Dat-Tex 105) that Soul Junction have taken the splendid ballad “One More Hour” to pair with the flipside of the groups third release “The Little Green Monster” (Dal-Tex 106) which is now highly regarded and sort after by sweet soul/lowrider connoisseurs alike. Both of these songs have been put back-to-back to feature on Soul Junction’s forthcoming September 45 release.

Dillinger one of the most consistently successful DJ’s to come out of the Jamaica, fondly remembered for his massive ‘Cocaine In My Brain’ hit from the great CB200 album and the later reworked ‘Marijuana In My Brain’ which gave Dillinger crossover hits in both England and Europe. But the versatile DJ has many more strings to his bow.

Dillinger (born. Lester Bullocks,1953 Kingston, Jamaica) began his musical venture around 1971, working asa DJ to Sound Systems run by Prince Jackie and El Brasso.1974 saw his first vinyl release in the form of ‘Freshly’ for Producer Yabby U and in 1975 he came with the great ‘Brace A Boy’ for the young Mr Augustus Pablo.But his first album release was through Coxsone Dodd’s Studio One setup, where he let Dillinger fire some vocals over classic Rocksteady rhythms. It took the form of ‘Ready Natty Dreadie’. It was his time at Joseph ‘Jo Jo’ Hookim’s Channel One Studio that produced his second album set(a crossover release and fore mentioned) the timeless 1976 classic ‘CB 200’. It contained three big singles in ‘Plantation Heights’, ‘Cocaine In My Brain’ and ‘Crank Face’. The reworked ‘ Marijuana In My Brain’ even became a No 1 hit in Holland in 1979.

We have taken our set of tunes from his classic 70’s period when Mr Dillinger could do no wrong.Alongside the big ‘Cocaine’ and ‘Marijuana’ hits the great opening track ‘Love Is All I Bring’ sees him working over Alton Ellis ‘Still In Love With You’ which Itself turned into ‘3 Piece Suite’. ‘Money Alone Is Not All’ where he works over Barry Brown’s ‘Mr Money Man’, ‘Hear and Deaf’ working over Johnny Clarke’s ‘Nobodies Business’. ‘King Pharaoh Was A Baldhead’ has him working Frankie Jone’s ‘ Jesse Black’ cut. ‘Concubine’ reworks the Mighty Diamond’s ‘Mother Winney’ and ‘Time So Hard’ sees Dillinger telling it like it is over Ronnie Davis’ original ‘ Time So Hard’ cut, empathizing the points in fine style.

A classic set of tunes all ‘Killer No Filler’ from the master of rhyme himself we hope you agree…..

Daniel Monaco Band is an international group led by Italian bassist Daniele Labbate. Blending jazz, funk, house and disco with live energy, their debut EP ‘Get Naked and Fly’ captures years of collaboration and experimentation. The result is a warm, analog-driven sound crafted by seasoned session musicians who’ve toured the world and are now channeling their creativity into original music as a group.

Lead track ‘Love Ago’ delivers modern disco with the authenticity of the golden era, ‘Mimouna’ has a psychedelic edge, with the WHODAMMANY remix taking the original into a more electronic direction. ‘The Devil Left Dancing’ takes a subtly off centre path, nodding to Brazilian influences, while the title track ‘Get Naked and Fly’ is raw and instinctive blending live instrumentation with electronic sensibilities.

The project is a testament to what happens when musicians trust each other enough to explore freely without chasing perfection. A live band speaking house, funk and jazz with one voice — analogue, soulful, and free.

Personnel : Percussion by Yannick Van Ter Beek, Drums by Robin van Rijn, Sax by Alessandro Russo, Guitar by Simone Cesarini and Bass by Daniele Labbate.

Designed by Bradley Pinkerton.

Letters Home is the debut full-length on ambient powerhouse Pas tInside The Present from Tennessee-based Slow Blink aka Amanda Haswell. And a fine one it is too with mesmerising routes through hazy soundscapes she calls "tape loop weather patterns." Across two half-hour pieces, bowed guitar, piano, bells, and toy synths dissolve into dreamy loops and create symphonies of colour and memory. Side one, 'The Heart's Docent', feels like a love-struck dance unraveling in slow motion, while 'Laughter at Cascade Park' evokes bittersweet nostalgia for long-lost joys. Handmade, analogue and alive with imperfections, Letters Home is an intimate meditation on memory, nature and impermanence.

Satisfaction comes in many forms. When the magical word Motown is uttered, most people are hard-wired to The Four Tops, the Temptations and The Supremes. But to reduce Motown to the effervescent sixties is only part of the label’s remarkable legacy.
By the 1970s, a different sound was gathering. America was on the verge of a nervous breakdown. The Vietnam War had been a disaster, urban street crime was epidemic and the nation’s college campuses were alive with political resistance. The joyful hope that had inspired “Baby Love” now felt anachronistic and out of time.

The music industry was changing too. The vinyl pop single on 45rpm which had been the staple of Motown’s success was being challenged by concept albums.   This was the era of Edwin Starr’s anti-war album War and Peace (1970), The Temptations mind-bending Psychedelic Shack (1970) and Marvin Gaye’s state-of-the-nation classic What’s Going On (1971).
By the early 1970s Motown had a stable of male vocalists that was arguably the best in the world, among them former lead singers from The Temptations - David Ruffin, Dennis Edwards and Eddie Kendricks. Alongside them singer-producers like Leon Ware and Frank Wilson were asserting their presence.

David Ruffin’s “Crime in the Street” captured the epidemic of violence in Detroit allowing his exquisite voice to quietly rage against gun crime. Recorded a few years before his underground classic “Rode by the Place”, both sound more modern today than when they were recorded.
If there is a common thread here, it’s the mid-tempo shifting soul soon to be christened as “quiet storm” including groups on the margins of Motown such as The Originals and The Fantastic Four led by the impassioned “Sweet” James Epps.
Just to keep you satisfied, immerse yourself in the overlooked creativity of Detroit’s male voices in the early 1970s.

if we think about what's the best italo disco label considering the number of release and success, Hole Records would be on the top three of each italo disco lover. Aimed by Mikki Chieregato and Roberto Turatti, every single release on the label is a gem. Joe Yellow, Den Harrow or Stylóo started an succesfull carreer on the label but also Fred Ventura. He was the vocalist of Flexxy-Ball. Produced by Chieregato and Turatti and bring it to light at the Manlio Cangelli studio Love Theme From Flexxy-Ball, Love Theme from Flexxy-Ball is a record that can be missed in any italo shelf.

Blue House Rockin’ is the result of a unique collaboration between Soul Sugar and Dub Shepherds — two projects united by a shared love for roots reggae, vintage studio gear, and warm analog sound.

The album was recorded live over two intense days at Blue House Studio by Christophe “French kiss” Adam, using ribbon and tube microphones from the ’50s and ’60s from the ’50s and ’60s, a Hammond organ, upright piano, Fender bass and Gibson guitars, classic amps and preamps, along with drums, syndrums and percussion. The sessions were transferred to a 24-track tape machine, and final mixes were crafted the old-school way by the Dub Shepherds at their own Bat Records Studio, using analog consoles and hardware vintage effects.
The tracklist brings together deep cuts, timeless classics, and original compositions. Curtis Mayfield’s Give Me Your Love and Aaron Frazer’s My God Has a Telephone (Colemine Records) — two soul gems, one vintage, one modern — are reimagined in reggae style, both featuring the great Jolly Joseph on lead vocals, working wonders with his falsetto. He also shines on Hold My Hand, a sweet and mellow original composition with lovers rock flair, written on the spot during the session.
Other standout moments include the soulful fire of UK singer Shniece McMenamin, who lights up Family Affair (Mary J. Blige / Dr. Dre) — flipped into a fiery hip-hop-meets-reggae version packed with energy and attitude.

Instrumentals like Disco Jack, Choice of Music, and Drum Song — all originally composed by Jamaican organ legend Jackie Mittoo — bring Guillaume “Booker G” Metenier’s Hammond work to the front. The playful exchange between organ, guitar, and a rock-solid rhythm section is elevated by swirling spring reverb, dub echoes, and filter sweeps.
The album’s explosive title track — Blue House Rock — was composed and recorded on the spot at the end of the session. A raw, greasy groove that sounds like The Meters jamming at Studio One or a lost instrumental from a Beastie Boys B-side.
Blue House Rockin’ is a vibrant blend of soulful roots reggae and funk, wrapped in the deep, dusty tones of analog tape. A joyful and authentic studio experience, captured live — and played loud.

Running with Scissors is a cathartic heart ache and, ultimately, a therapeutic exploration of what it means to be alive—to love, to grieve, to regret, and to grow. It pulses with rawness and authenticity, sincerity and honesty, offering both solace and strength to anyone navigating their own emotional journey.

Running with Scissors is the third full-length album from Canadian trio Afternoon Bike Ride. Residing in Montreal, the group is made up of Lia (vocals, guitar, programming), David (vocals, guitar, drums, programming), and Éloi (vocals, keys, drums, programming). Since their formation in 2019, the band has released numerous projects where indie rock blends with acoustic pop, ambient field recordings, and lofi folk.

With each track on the new album, the three artists explore the rollercoaster ride of life’s most profound lessons—falling in and out of love, embracing grief, and navigating the complex spectrum of human emotion. The album feels like a series of journal entries, capturing moments of vulnerability, self-discovery, and personal growth. A lot has changed since their formation in 2019 but their hearts are still in the right place. Lead singer and songwriter Lia reflects on the bittersweet realization that life is an ongoing journey and we’ll never have all the answers, but we can still find meaning through love, meaningful connection, and the lessons that shape us. If life is one big lesson, then according to Lia, "I guess these songs are some classes I've taken."

The twelve song soundscape blends raw, emotional acoustic elements with subtle electronic layers and indie rock grunge, creating a textured blend that feels as vast and intimate as the album’s themes. It’s an immersive record that shifts perspectives, from the micro to the macro, zooming out to explore the universe and zooming in on the personal experiences that define our lives. Throughout the album, ABR explores the beauty of feeling deeply while embracing both the intensity of emotion and the struggles of finding purpose. "I'm finding my way through this world now," says Lia, "with the comfort of knowing I'll never know it all.”

Für sein treffend betiteltes Solo-Debütalbum "Introducing..." hat Aaron Frazer mit Dan Auerbach von The Black Keys zusammengearbeitet. Soft spoken und mit dem Aussehen eines leicht unzufriedenen Matinee-Idols aus den 1950er Jahren gesegnet, besitzt Frazer eine einzigartige Stimme, die sowohl zeitgemäß als auch zeitlos klingt. Der in Baltimore aufgewachsene, zurzeit in Brooklyn lebende Songwriter wurde als Schlagzeuger und Co-Vokalist von Durand Jones & The Indications bekannt. Jetzt tritt er mit "Introducing..." als Solist hinter dem Drumkit hervor und demonstriert nicht nur seine beeindruckenden stimmlichen Qualitäten, sondern auch sein Können als hochklassiger Songschreiber. Schon die erste Single "Bad News" sorgte für Aufsehen ("a gorgeous piece of vintage R&B" - CLASH), die sich anschließende Lead-Single "Over You" ist inspiriert von elektrisierenden Northern Soul 45s der 60er Jahre. Nur zwei Belege der erfolgreichen Zusammenarbeit zwischen Frazer und Auerbach. Die zwölf Songs auf "Introducing..." verbinden gekonnt den Soul der 70er Jahre mit Dan Auerbachs besonderer Sensibilität für Vintage-Sounds im neuen Gewand. "Introducing..." enthält klassische Message-Songs im Stil von Künstlern wie Gil Scott-Heron sowie motivierende Liebeslieder, die von Disco-, Gospel- und Doo-Wop-Einflüssen durchzogen sind. Das gesamte Album wurde innerhalb nur einer Woche in Auerbachs berühmten Nashville-Studio nach einer schnellen und produktiven Songwriting-Session aufgenommen. Auerbach holte auch den legendären Songwriter und Falsettspezialisten L. Russell Brown (schrieb früher Hits für Frankie Valli von The Four Seasons) an Bord, der den wunderschönen Opener "You Don't Wanna Be My Baby" auf dem Album mitkopmponierte. Für "Introducing..." rekrutierte Frazer eine beeindruckende Schar alteingesessener Session-Musiker aus Nashville. Darunter Mitglieder der legendären Memphis Boys (die in Dusty Springfields "Son of A Preacher Man" und Aretha Franklins "You Make Me Feel Like A Natural Woman" mitspielten), den Perkussionisten Sam Bacco sowie diverse Musiker aus dem Daptone/Big Crown Records-Umfeld.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

múm are returning with a new album on Morr Music. »History of Silence« is the first full body of work by the Icelandic collective since 2013's »Smilewound« and their seventh studio album to date—recorded, deconstructed, put back together again, refined and finished over the course of two years. Vibrantly oscillating around a carefully curated palette of electronic and analogue sounds, the eight new tracks reflect the group's continuous strive to explore sonic spaces through subtle yet gripping songwriting.

For a long time now, múm have been exploring the idea of distance in their music. In the beginning, this was born purely out of necessity. Founded in Iceland in the late 1990s, the members soon began embarking on journeys across the world—collectively while touring, but also individually, exploring new places to live and create. Settling in, moving on, catching up: The concept of distance soon became an integral part of the collective's process. »History of Silence« leans into this idea, with space and time becoming indispensable pillars of the arrangements. While being coherent and structured, they echo their origins from different seasons, cities, and spaces—neatly stitched together with unparalleled craftsmanship. They breathe an overall airy and intimate atmosphere, yet resonate with the structural heft of time.

On »History of Silence« time manifests in unexpected, liberating, and mesmerizing ways. It does not move reliably forward; it drifts, takes twists and turns, even disappears completely. Electronic textures blur into acoustic sounds, voices flicker and dissolve, melodies stumble and repeat. The arrangements often feel like they’re wandering, gently resisting direction. »Our Love is Distorting,« for instance, begins with a subtle piano motif, playing hide and seek with feedback noises, digital artefacts, and lush—yet very quiet—string arrangements, before gradually forming into a distinctive song. It's a perfect illustration of múm's general approach on this album. »Mild at Heart« turns this idea upside-down, flowing freely from start to finish with moments of silence sprinkled in—serving to emphasize the musical elements. The music on »History of Silence« moves like weather: unexpected, intimate, quietly detailed. Contrasted with vivid phrases, rhythmic shifts, and small hooks, the album offers a new angle of compositional clarity and vision.

Work on »History of Silence« began at Sudestudio in southern Italy. Additional recordings were made in Reykjavík, Berlin, Athens, Helsinki, New York, and Prague. The strings were recorded by Sinfonia Nord at the Hof concert hall, Akureyri, arranged and conducted by Ingi Garðar Erlendsson, who has worked with the band for many years. The orchestral elements don’t dominate the record—instead, they surface gently, adding depth and resonance to the songs without disturbing the songs' fragility.

Contrary to what the album title suggests, »History of Silence« is a collection of bold and colorful songs, no matter how muted they might sound at times. They tickle like a feather drifting through the wind, ending up in unexpected places, stimulating long-forgotten thoughts and feelings, intimate moments of introspection. The songs move through the echoes those moments leave behind: the emotional traces of things unsaid, the weight of stillness. Offering closeness by means of distance and much-needed support.

Nach ihrem gefeierten Comeback-Album im Oktober 2024 melden sich Propaganda mit einem elektrisierenden Remix-Album zurück: Remix Encounters - eine klanggewaltige Hommage an ihr eigenes Werk, neu interpretiert von internationalen Größen wie Moby, Tangerine Dream, Rhys Fulber, Schiller und vielen mehr. Veröffentlicht auf Bureau B, vereint dieses Album die kreative Energie einer neuen Generation mit der visionären Kraft von Propaganda. Was als einzelne Remix-Anfrage begann, entwickelte sich zu einem globalen Projekt - von Düsseldorf über Helsinki bis Los Angeles. Jeder Track ist ein eigenständiges Kunstwerk, das elektronische Subgenres wie EBM, Ambient, House, Industrial und Rave aufgreift und neu verbindet. Remix Encounters ist mehr als ein Remix-Album - es ist ein Statement. Eine Feier der Transformation, der künstlerischen Freiheit und der ungebrochenen Relevanz einer Band, die seit ihrem Debüt A Secret Wish 1985 elektronische Musikgeschichte schreibt.

The Ocean And Me is the seventh studio album by Swedish singer/songwriter Sophie Zelmani.
With no musical background and without ever having performed in public, Zelmani rose to the top of the charts in
995 with her self-titled debut album. Until now, she has released up to fifteen albums and was described as
Sweden's answer to Norah Jones. The Ocean And Me, featuring 12 self-written songs combining Nordic folk with
melancholic country-pop, was well received by critics and is influenced by the likes of Bob Dylan, Norah Jones,
Leonard Cohen and Van Morrison.
The Ocean And Me is now available as a limited edition of 750 individually numbered copies on crystal clear vinyl and includes a 4-page booklet with lyrics.

First released on August 18, 2023, "Outline of Nature" started as an experiment in building a modular synthesizer system and ended up as a voltage controlled outpouring of love for the natural world. Sylvan-born and pastoral-powered, sap-blooded and lightning-charged, this album grew out of the damp florescent corners of the woods, each note and sound, a fractal extension of their seedling sounds. It was nurtured into being at The Twilight Research Centre, a studio facility situated on the border of Somerset and Dorset. During Covid lockdown 1.0, I spent the outdoor hours we were permitted, wandering through the centre's surroundings, in the green lanes, woodlands and corridors of the wilds with their wary and flickering inhabitants, beneath the distant eyes of the soaring buzzards and the hulking red kites. I didn't expect it, but it was in the quiet, ferociously vibrant dens of nature, that I found a deeply profound connection with the natural world. It once again made sense to feel as much a part of the woods as the trees were; I felt like a natural entity in its habitat again, not something I'd properly felt since running wild through the gullies, dells and fells of the Midlands as a child. And I became afflicted with a powerful urge to build strange electronic sound systems that were organic, chaotic, fractal and in some way reflective of the awesome natural systems that surround us and surround the centre. I plugged in the modular, and went searching for signs of life. Adding to this, just before the lockdowns, I stumbled across a three volume nature encyclopedia in a local charity shop, called "Outline of Nature in the British Isles" by Sir John Hammerton. The sub-heading reads "A Comprehensive Photo-Survey of the Varied Life of Field and Hedgerow, Moor and Mountain, River, Pond and Sea", and it's a stunning collection of grainy photographs, beautiful illustrations and wondrously poetic writing, some of which inspired track titles and of course, the album title. I also rekindled my love of Ladybird nature books such as the "What to Look for in Spring/Summer/Autumn/Winter" series, "Birds and How They Live" and "Butterflies, Moths and Other Insects", rebuilding a small collection I had as a child and discovering numerous volumes new to me. Between the two literary sources, I had a rich well of imagery, writing and pastoral nostalgia to draw from; and coupled with the extended sessions of blissing out in my own heavily ecstatic awe descended on me in the sheer grandness of the wilderness, I set about enticing out of the woods an album of phosphorescent electrical music, abundant with comparatively microscopic, but persistent and wild life-forces.

Often touted as a "masterpiece of jazz-funk live albums," The Wooden Glass's 1972 live recording proves it's more than just hype. Featuring vibraphonist Billy Wooten who previously played with Grant Green, this record was recorded at Indianapolis' The 19th Hole club and captures the essence of fusion driven by soulful 60s influences. Wooten's gentle melodies contrast with the gritty, distorted sound of Harold Cardwell's powerful drumming and Emmanuel Riggins' Hammond organ while the energetic performance from the band, including guitarist William Roach, creates a tapestry of intensity and dreamlike vibes. It's raw, electrifying, high-energy jazz.

GOODWIN, das Soloprojekt des The Slow Show-Sängers Rob Goodwin, hat das Debütalbum 'PEEKABOO' angekündigt, das am 19. September 2025 über PIAS Recordings veröffentlicht wird. An Goodwins Seite ist dabei Lambert, der mysteriöse, maskierte Pianist und Komponist, der u.a. für seine Zusammenarbeit mit Künstlern wie Nils Frahm und Ólafur Arnalds bekannt ist.

'PEEKABOO' geht über die cineastische Wucht seiner Band hinaus und liefert etwas Intimeres und Ungeschliffeneres. Eine Sammlung zutiefst persönlicher Songs, die in stillen Momenten entstanden sind und in Berlin-Neukölln mit Lambert geformt wurden. Als Produzent bringt Lambert seine Handschrift - sowohl spielerisch als auch tiefgründig - in 'PEEKABOO' ein. Er verwebt eindringliche Pianos und Arrangements mit Goodwins intimem Storytelling und lässt jeden Song in seinem eigenen ruhigen Raum atmen. Gemeinsam geht es auch auf 'PEEKABOO' Tour im Herbst.

Getragen von Goodwins unverwechselbarem Bariton - einer Stimme, die sowohl zärtlich als auch donnernd und voller Sehnsucht ist - entfalten sich die zehn Songs wie eine Reihe stiller Bekenntnisse. Inspiriert von den stimmungsvollen Atmosphären von Leonard Cohen und Nick Drake, behandeln die Lieder das Gewicht von Liebe, Verlust und stiller Tapferkeit. Romantische, traumhafte Geschichten für Menschen, die verstehen, dass manchmal die kleinsten Momente die größte Bedeutung haben. “These songs are fragments of myself. Sharing them feels exhilarating and terrifying, as vulnerability often does.”

SCHWERT AUS HOLZ“ klingt euphorisch, leicht und positiv. Bei aller Holz-Melancholie, erlauben es sich die DONOTS, sämtliche Songs neu zu denken mit anderem Vibe, neuen Rhythmen, alternativen Melodien und trotzdem immer mit genügend Grip und auch Drive - denn schnelle Songs wie der Live-Klassiker „Dead Man Walking“ oder der heimliche Sommerhit „Problem kein Problem" treten auch auf dem Akustikalbum durch den Holztisch. Frischen Wind pusten aber nicht nur die neuen Arrangements durch das DONOTS eigene Heavy Kranich Studio, in dem die Songs in diversen Sessions neu gedacht und recorded wurden. Die DONOTS haben sich alte Freund:innen und Wegbegleiter für diverse Gänsehautmomente eingeladen.

So ist aus dem DONOTS Hit „Stop The Clocks“ ein Duett mit Campino von Die Toten Hosen geworden, während Kuddel von Holst (ebenfalls Die Toten Hosen) ein wunderschönes Gitarrensolo zum ersten neuen englischsprachigen DONOTS Song in 13 Jahren eingespielt hat. Frank Turner darf in der Neuauflage von „So Long“ selbstredend nicht fehlen, Chuck Ragan von Hot Water Music und Matt Hensley von Flogging Molly empfehlen sich mit Reibeisenstimme und Akkordeon und Shitney Beers singt auf ihre wunderbare Shoegaze Art und Weise das Intro zu „Keiner kommt hier lebend raus“.

Die Vorab-Singles „Allein zu allein“ und „Problem kein Problem“ haben schon diverse Herzen eingesammelt und das „SCHWERT AUS HOLZ“ dürfte sämtliche restlichen Herzkammern fluten - auch auf der restlos ausverkauften Vorab-Akustik-Tour zum Albumrelease. It’s a love thing…

On its original release, Dido’s breakout debut album ‘No Angel’ spent seven weeks at #1 in the UK before being certified a staggering 10 x Platinum and earning Dido BRIT Awards for Best British Album and Best British Female Artist. Worldwide, the album has sold over 15 million copies, amassing a total over 1.2 billion streams. This special anniversary edition of the album features new artwork housing the vinyl, and includes the hit singles ‘Thank You’, ‘Here With Me’, and ‘Hunter.’